Mantegna, Camera degli Sposi발음듣기
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Mantegna, Camera degli Sposi
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(lighthearted music) Female Voiceover: Let's talk about this frescoed room by Andrea Mantegna.발음듣기
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Mantenga was active in Northern Italy, first in Padua, also Ferrara, and around the Veneto in the middle of the 1400s.발음듣기
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Then, in 1460, he's appointed by the Marquis of Mantua, Ludovico Gonzaga, to be the court artist of the Court of Mantua, so he moves there in the 1460s.발음듣기
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Female Voiceover: It's really important to recognize that what's happening in Mantua is going to be really different than what's happening in Florence.발음듣기
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Male Voiceover: Yeah, in other kinds of cities, Mantua, at this time, is a court; it's ruled by a marquis, which is a step below a duke, the Gonzaga family who'd been in control for quite a while are the single dominant rulers of the city.발음듣기
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It's very different from a situation, as you pointed out, Florence, or Venice, which are republics.발음듣기
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So, Mantegna comes and he begins working on this project, which is called the Camera Picta, or the Camera degli Sposi, which-발음듣기
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One thing to point out is that besides the door frame, and the mantle piece and some architectural features like these brackets at the bottom of the vault, everything that we're looking at is paint.발음듣기
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Male Voiceover: We have the ceiling that's decorated with these architectural and sculptural forms,발음듣기
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and then it has an oculus, or this open hole at the center of the ceiling that we'll take a look at, all painted,발음듣기
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and painted very, very naturalistically and with the careful attention to perspective, as if you are seeing 3-dimensional objects from below or on the walls and that makes it illusionistic, as if it's really there.발음듣기
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so it really in that full swing of the early Renaissance, and humanism, the [unintelligible] discovery of classical antiquity.발음듣기
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Speaking of classical antiquity, and we can start on the ceiling, and what we see is this oculus,발음듣기
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and then surrounding it is this architectural and sculptural ornamentation that's extremely classicizing in terms of the molding and the details in the ribbons and the garlands, and the putti,발음듣기
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Female Voiceover: And the putti. and what they're holding are fictive reliefs of the first eight ancient Roman emperors;발음듣기
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What's important to point out is that, we talk a lot about classical antiquity in the Renaissance, and the revival of antiquity,발음듣기
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but it's important to remember that different types of cities drew from different types of classical antiquity,발음듣기
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and what we're looking at here with these portraits of the emperors, is an imperial classical antiquity,발음듣기
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which is entirely appropriate for a court city like Mantua that's ruled by a marquis or any other city ruled by a duke.발음듣기
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Female Voiceover: No, Florence looked back to the period of ancient Rome when it was a republic.발음듣기
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they were able to distinguish between different types of classical antiquity, and pick what was most relevant to them.발음듣기
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Below that, again, we see this open space, and on the walls are frescoes of the Marquis Ludovico and his everyday life scenes in what supposedly Mantuan territory scenes from his activities.발음듣기
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In the landscape there's some putti that are standing up on top of the door holding an inscription,발음듣기
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and then on this wall we see Ludovico and his wife and his family and his favorite dog and the court little person all sitting around while he receives a message from an adviser on the far left.발음듣기
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and that might be related to the function of this room, which might have been a kind of ceremonial greeting space.발음듣기
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You see this extremely naturalistic, illusionistic painting that creates the fiction of architectural spaces.발음듣기
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Look at how the curtain seems to be pulled forward and in front of the column, so sometimes it's really hard to distinguish between what's real and what's not.발음듣기
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Female Voiceover: There's a lot of fun clearly in playing with those boundaries and using perspective to fool the eye.발음듣기
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You can see slightly up into the bottom of their tunics, so you don't see the top surfaces of the stairs or the floor that they're standing on;발음듣기
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Male Voiceover: Not a real opening; it's just painted from this Di sotto in su, from below, radical perspective.발음듣기
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So, we see everything very foreshortened, the balustrade, this railing that circles the oculus.발음듣기
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You see several servants, including an African one, standing around and they're looking down and they're laughing.발음듣기
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If you look very carefully, you'll notice that one of these women has her hand on this pole that's supporting this pot with a plant in it;발음듣기
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and the suggestion, I think, is that she's about to pull that pole away and that potted plant is going to fall right on your head.발음듣기
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So, that's the joke; you're standing there looking up with your mouth hanging open, and suddenly you realize that there's the joke, the illusion, of these objects that are going to fall on you.발음듣기
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Female Voiceover: In fact, there are other figures who look like they could drop things on us.발음듣기
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Male Voiceover: Right, because look at these putti, not wearing diapers with their little rear ends sticking out, or the front of them facing us, and so there may be other things falling on you, too.발음듣기
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On the one hand, this room gives us a serious subject matter of the marquis as a ruler of his domain, with this serious, imperial, classicizing imagery of the ancient Roman emperors on the ceiling,발음듣기
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